ExhibitionNovember 20, 2020
Paz Errázuriz at the Instituto Moreira Salles
Instituto Moreira Salles (IMS) organized in collaboration with Fundación MAPFRE a retrospective exhibition on Paz Errázuriz. The show will be on view until Jan 3, 2021. An overview of her work, presenting around 150 photographs from the 1970s through 2010s, is displayed into ten thematic groupings.
Paz Errázuriz began taking photographs in the 1970s during Chile’s military dictatorship. She used her camera to record images of Chile’s of the time, particularly marginalized groups. Since then, her keen eye for capturing her homeland’s contradictions and the portraits of the “invisible” sitters granted her the place as one of the greatest Chilean photographers.
Born in Santiago in 1944, Errázuriz first worked as an elementary school teacher, but quit after the 1973 coup and became a self-taught photographer. She began by registering images of the streets of her native city and covering demonstrations against the dictatorship. Taking photos of political events, however, have not been Errázuriz’s central interest. She ultimately chose portraiture as her main form of expression, aiming her lens at people whose very lives constituted forms of resistance against the era’s prevailing norms and conservative climate. Errázuriz ventured into areas barred to women by the traditional morality prejudices as the world of boxing.
Paz Errázuriz began taking photographs in the 1970s during Chile’s military dictatorship. She used her camera to record images of Chile’s of the time, particularly marginalized groups. Since then, her keen eye for capturing her homeland’s contradictions and the portraits of the “invisible” sitters granted her the place as one of the greatest Chilean photographers.
Born in Santiago in 1944, Errázuriz first worked as an elementary school teacher, but quit after the 1973 coup and became a self-taught photographer. She began by registering images of the streets of her native city and covering demonstrations against the dictatorship. Taking photos of political events, however, have not been Errázuriz’s central interest. She ultimately chose portraiture as her main form of expression, aiming her lens at people whose very lives constituted forms of resistance against the era’s prevailing norms and conservative climate. Errázuriz ventured into areas barred to women by the traditional morality prejudices as the world of boxing.
